It is deplorable that a beautiful stone screen of Tudor architecture, which separated the choir from the transept, was ruthlessly destroyed in 1860, and another one erected. This also has been removed, and the view of the east end, with its Decorated piers and arches and the rich glass of the windows, is extremely fine. All the work before us was constructed by Abbot Knowle (1306-1332) and is Decorated. The Norman choir had two bays with a third for a processional path. Knowle added two bays to the choir and built the Lady Chapel. The clustered piers have triple shafts which support the vaulting. The capitals on these shafts have very graceful foliage. The piers have no capitals, but the mouldings run round the arches continuously, as is not unusual in Decorated work. The vaulting is what is known as lierne. Iron screen work divides the aisles from the choir. The reredos is modern, erected in 1899, and has some fine carving. The _Stalls_ were originally Decorated, but "restoration" has destroyed much, and little of the old work remains. There are some curious _Misereres_: a fox preaching to geese, a tilting with brooms between a man and a woman, one mounted on a pig, the other on a turkey-cock, the story of Reynard the Fox. The pavement is new, and not altogether successful. The organ is a noble instrument placed on the west side, and has been often reconstructed. The _Throne_ is modern and has some fine carving. Passing into the north aisle we notice the peculiar vaulting. It will be seen that the roof of the choir and aisles is the same height, and in order to support the weight of the choir-vault transoms are thrown across the aisles supported on arches, and above a vaulting shaft springs from the centre of the transom. This ingenious plan produces the same effect as a flying buttress and is most ingeniously arranged. The windows have beautiful Decorated tracery and the ball-flower is extensively used in the string-course beneath them. The east window has seventeenth-century glass, said to have been given by Nell Gwynne, more probably by Dean Glemham (1661-1667). It treats of the Resurrection, with Jonah and Abraham's sacrifice as types of the same, the Ascension with Elijah as a type. There are monuments here of Robert Codrington (1618); Harriet Middleton (1826); Paul Bush (1558), the first bishop; Robert Southey, the poet; Bishop Westfield (1644); Bishop Howell (1649); and Mary Mason, wife of the poet, with some touching lines (1767). Between the aisle and the Elder Lady Chapel are the effigies of Maurice, Lord Berkeley (1368), and his wife, Elizabeth. There is a tablet to the memory of Robert Fitzhardinge, the founder of the Cathedral and also of the house of Berkeley. Some Norman corbels will be noticed in the door leading to a staircase in the third bay.